Trauma can be caused by various origins, not only by natural disasters but also violence, social oppression, and so on. This book covers such a wide range of populations who are affected by various origins of trauma, as well as overarching trauma theories. As someone who experienced the Great East Japan earthquake and nuclear disaster in 2011, I know how important and effective the trauma work can be. This book will be a valuable resource for students and professionals who wish to work with such populations. I highly recommend this book.
Yuji Igari, M. S., Associate Professor of Music Therapy, Nagoya College of Music, Japan
This book includes chapters by a stellar group of international contributors, many of whom are recognized as authorities in their areas of expertise. The topics covered are highly relevant in the contemporary world, including natural disaster trauma, cultural issues including race and gender/sexual preference identity, and sexual and intimate partner violence, in addition to the more traditional focuses of psychiatry and oncology. Contemporary approaches are used to develop broad-based theory that is relevant across specific clinical areas and music therapy treatment models. This book is an essential resource for music therapists working within psychotherapy contexts.
Kenneth Aigen, Director of Music Therapy, New York University, USA
This book offers an essential introduction to principles of trauma-informed practice in music therapy. The editors bring together a collection of voices that demonstrate the potential for music to assist in the healing process in the aftermath of difficult events that shape our lives. It will be an incredibly valuable resource to both students and experienced practitioners across the creative arts therapies.
Prof. Nisha Sajnani, Director, Program in Drama Therapy, New York University, USA
Trauma can affect people in many ways. This book discusses trauma-informed practice (TIP), laying a theoretical framework and drawing together some of the ways of working with trauma. The authors come from a variety of backgrounds and clinical settings, thus presenting various perspectives on this work. An awareness of the power dynamics that may intersect with experiences of trauma runs through a number of the chapters. I expect that music therapists and others will be stimulated by the contents and excited to read about new approaches to trauma-informed practice in music therapy.
Barbara L. Wheeler, PhD, MT-BC, Professor Emeritus, Montclair State University, USA
